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The Freestyle Band (Henry Warner, Earl Freeman, Philip Spigner)
s/t
Adeyeme Productions Unlimited
LP
$20
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"I watch the things all around me and I shy away, reject and go away, and sometimes
it's more successful." - Earl Freeman, quoted in "Freeman Fighter", written
by Valerie Wilmer, published in Melody Maker, May 13, 1972.
 Earl "Goggles" Freeman was an outcat's outcat: musician, poet, visual artist, and
all-around interesting fellow. Born in Oakland in 1937, Mr. Freeman was a
noteworthy but somewhat enigmatic musician who was most active
recording-wise when he was an expat on the '60s Paris free jazz scene. His
discography includes dates by Archie Shepp, Sunny Murray, Kenneth Terroade,
Noah Howard, Selwyn Lissack, Mike Osborne, and even Gong's first record. A
Korean War veteran, he often wore an aviator's cap and goggles, hence his
nickname. (He is also rumored to have worn a parachute onstage on at least
one occasion.) In 1972, French state investigators hauled Freeman in for
questioning and subsequently declared that he possessed a "Dangerous
Political Image". Under threat of imprisonment, he hightailed it to
Amsterdam. He hung there for a while until some folks smashed his bass,
signaling that it might be time for another move.
Freeman was living in New York City by the mid-'70s, where he would occasionally perform with The
Music Ensemble. He also directed the Universal Jazz
Symphonette, as heard on the elusive Soundcraft '75 album. While its
fidelity leaves quite a bit to be desired, the LP is highly sought after
because it features some of the earliest recorded work from William Parker,
Daniel Carter, Raphe Malik, Billy Bang, and many other young players on the
scene during that period, including Henry P. Warner and Philip Spigner,
a.k.a. Adeyeme (incorrectly credited as Abe Yeme on the LP sleeve), who
would later collaborate with Freeman in The Freestyle Band.
 Henry P. Warner was born in New York City in 1940. Notable early entries in his discography
include William Parker's Through Acceptance of the Mystery Peace and New
York Collage by Billy Bang's Survival Ensemble. He was also the music
director for Bang's Outline No. 12 LP, and has performed with Sun Ra, Wilbur
Ware, Earl Cross, Frank Lowe, Clarence "C" Sharpe, and many others. Today
he leads his own bands, performs with groups such as the Vibrational
Therapists, and takes part in jam sessions in a multitude of scenes in and
around New York City. Warner believes in the importance of the role of the
musician within the community, and is a teacher of long-standing at
Mind-Builders Creative Arts Center in the Bronx. William Parker's
forthcoming book will likely include an extensive interview with Mr. Warner.
 Born in Manhattan in 1951, Philip B. Spigner has led a multifaceted life
that could be considered somewhat characteristic of many subterranean
artists. A member of the Black Panthers at 17 years old, he was later
offered a full scholarship to New York University but instead pursued an
occasionally illicit underground life. He subsequently adopted the African
name Adeyeme (Yoruba for "the crown becomes me") and became a hand-drummer
on the NYC free jazz scene during the '70s and '80s. He also appeared at
jazz festivals in France and Luxembourg. Soon afterward he relocated to
Arkansas where he would play solo gigs in and around Little Rock at the
YWCA, Senior Citizen's Tea, and at junior high schools. Today he continues
to play "freestyle" hand drums semi-formally in California.
Warner and Spigner often performed together at a venue called The Bakery (aka The Basement) before later joining
forces with Earl Freeman in The Freestyle Band. They privately pressed 500
copies of this LP in 1984, their only commercially available document, and
it is one of my favorite dispatches from the free jazz underground.
Freeman's bubbly electric bass and the steady patter of Spigner's
percolating hand drums create an ominously undulating backdrop upon which
Warner's clarinets (both b-flat and alto) flutter and fly.
Unfortunately, various circumstances resulted in making the record particularly obscure. A
third party diverted overseas promoters who wanted to book the band, and
eventually the group split up. A shame, as I've never heard anything else
quite like this album.
50 Miles of Elbow Room is very pleased to be able to offer original, sealed copies of this superb record. Thanks to all who
helped with this write-up, especially Philip Spigner, Henry Warner, and Val Wilmer.
Credits:
Earl Freeman: bass guitar, piano
Henry Warner: b-flat clarinet, alto clarinet
Philip Spigner: hand drums
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